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Umphreys McGee Live at Beacon Theatre on 2013-01-18




*** THIS IS A 24 BIT RECORDING, NOT INTENDED FOR MP3 STREAMING, OR CD BURNING ***
*** The normal CD quality version of this show is available for streaming and ***
*** download here: http://archive.org/details/um2013-01-18.tlm170.flac16 ***

Set 1
1. Leave Me Las Vegas ->
2. 40s Theme
3. banter - have a great time
4. Conduit
5. Roulette ->
6. Nothing Too Fancy -> *
7. Ocean Billy
8. banter - means a lot
9. Weird Fishes/Arpeggi
10. banter - band intros
11. Plunger
12. thanks

Set 2
1. Puppet String -> +
2. The Linear ->
3. Professor Wormbog
4. banter - first time we played NYC
5. Wappy Sprayberry -> ^
6. Example 1 %
7. banter - a lot of options
8. Life During Exodus @
9. thanks / encore break
10. banter - amazing night
11. Booth Love ->
12. Puppet String
13. thanks


Collection UmphreysMcGee
Band/Artist Umphreys McGee
Venue Beacon Theatre
Location New York, NY

Source FOB Audience
Lineage Neumann TLM-170 (cardoids, FOB, Orchestra Row J, right side) -> Sound Devices 722 (@24/96); Tracked in CDWav
Taped by Scott Bernstein
Transferred by Scott Bernstein

Notes

* = with Ain't Talkin' 'Bout Love (Van Halen) teases; unfinished
+ = with Der Bluten Kat jam
^ = with Exodus (Bob Marley) teases and Theresa jam
% = with Bill Evans on saxophone
@ = with Jake on keys for part of jam, a mash-up of Bob Marley's "Exodus" and Talking Heads' "Life During Wartime", with Frank Zappa's "City Of Tiny Lights" sandwiched in the middle

I had to do some major clap scrubbing due to the fact that the Beacon security kept making Justin lower his stand (which seems illogical because the LOWER the stand is, the more likely it is to block someone's view), which meant that any local loud clappers would be MUCH louder on the recording the lower the stand is. :( The worst offenders were during "Ocean Billy", "Wappy Sprayberry", and "Example 1" where there were some sections where I had to remove almost constant clapping. In most cases, the claps have been removed such that there is no trace of them anymore. In a few cases, there is a tiny remnant of the clap, but it would be very muted compared to the original volume of the clap.

To bring this recording up to my standards, I scrubbed many loud, local claps from the following tracks: S1T1(10 claps), S1T2(6), S1T3(10), S1T4(6), S1T5(2), S1T6(6), S1T7(80), S1T8(15), S1T9(20), S1T10(10), S1T11(46), S2T1(37), S2T2(40), S2T3(37), S2T4(10), S2T5(104), S2T6(68), S2T7(10), S2T8(45), S2T9(10), S2T11(29), S2T12(45), S2T13(10)

Special thanks to Justin Marinoff for allowing me to clamp to his mic stand in a great up-front location!

Recorded, Mastered, Tracked, Tagged, and Posted by Scott Bernstein (1/18-30/2013)

There is a standard CD quality version of this recording which has MP3 and streaming ability available at http://archive.org/details/um2013-01-18.tlm170.flac16. I recommend playing / downloading THAT version of this recording, since it doesn't share the benefits of the clap scrubbing I did on this 16 bit version!

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